Abstract
By way of conclusion, I once again bring to the foreground debates on art cinema, in order to answer three questions directly: where precisely do political redistributions exist in the films discussed? How do these redistributions relate specifically to consensus politics? Third, how does the discourse of art cinema itself occupy a particular space of political potential? To answer each question, I revisit key points made in each chapter in order to elaborate on how art cinema proposes confrontations with, and developments from, Rancière’s claim that ‘there is no politics of cinema’.
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